musician bios

James Kennerley | Keyboard

Hailed as “a great organist” displaying “phenomenal technique and sheer musicality” (Bloomberg News), James Kennerley is a multi-faceted musician, working internationally as a conductor, keyboardist, singer, and composer. A specialist in the realm of early music, he has collaborated with the likes of William Christie, Richard Egarr, Nicholas McGegan, Christopher Hogwood, Monica Huggett, Julian Wachner, and many others. He has given solo harpsichord concerts throughout the United States and Europe to great acclaim and was Music Director of the Carmel Bach Festival VBA program this summer. 

Lauded as an “excellent, true-toned tenor” by New Yorker critic Alex Ross, Mr. Kennerley has performed as a soloist with many ensembles, including the choir of Trinity Church, Wall Street, Saint Thomas, Fifth Avenue, TENET, and the Clarion Music Society. He holds the record for both playing continuo and singing a solo (“Thou shalt break them” from Handel’s Messiah) with the Choir of Trinity Church, Wall Street in performances at Lincoln Center in 2015.

A composer of note, he specializes in music for choral ensembles, and for works that incorporate historic instruments. His 2012 piece Lauda novella was featured as part of the Twelfth Night Festival at Trinity Church, Wall Street; Kennerley was first place winner of the Association of Anglican Musicians 2013 composition competition. Mr. Kennerley made his Lincoln Center conducting debut in 2009 with two performances of a contemporary operetta, The Velvet Oratorio.

A native of the United Kingdom, Mr. Kennerley is Organist and Choirmaster at Saint Ignatius of Antioch Episcopal church, New York City, where he directs the professional choir and coordinates the church’s extensive concert series. From 2008 he held a similar position at the Church of Saint Mary the Virgin, Times Square. His studies were at Cambridge University, UK, and the Juilliard School.

Please visit www.jameskennerley.com for more information.

Noémy Gagnon-Lafrenais| violin

In the recent years, the violinist Noémy Gagnon-Lafrenais has been exploring repertoire through the filter of historically informed practice. Pursuing the quest for a genuine and creative expression of music, she spends much time wondering about the past. She has performed with Arion Baroque, Pacific Baroque Ensemble, Trinity Wall Street and Clarion Music Society. Not only has Noémy benefited from the instruction of Axel Strauss, Monica Huggett, Cynthia Roberts, Elizabeth Blumentstock and Anne Robert, but she was influenced by a countless number of mentors, teachers and colleagues, such as Richard Egarr, Robert Levin, Robert Mealy and Krisitian Bezuidenhout. Transmitting the virtues of music has been one of her passions for many years, as a performer and a teacher. Noémy was a teaching fellow at the Juilliard School and a violin teacher at UC Berkeley Young Musicians Program, Starr King Elementary School (San Francisco), in Montréal and Sherbrooke. She holds degrees from the Juilliard School, the San Francisco Conservatory, and the Conservatoire de Musique de Montréal. 

Ben Matus | Bassoon

Ben Matus has always had a penchant for beautiful and odd sounds.  Growing up in the suburbs of Philadelphia, Ben frequently sang in choirs dedicated to Renaissance Polyphony and practiced his overtone singing on the side.  His parents were in no way surprised that he wanted to learn the bassoon.  Upon completing his BM in modern bassoon at the Eastman School of Music, he found the modern bassoon lacking in both beauty and weirdness.  Studying historical bassoons at the Juilliard School, Ben's appetite for the full range of sonic strangeness and perceptible pulchritude was finally satiated.  Ben performs regularly on replicas of instruments ranging from years 1400-1800 but greatly enjoys playing and listening to music of all generations.  

Arnie Tanimoto | Viola da gamba | Cello

Arnie Tanimoto is equally at home playing various members of the viola da gamba family, as well as both modern and baroque cello. He is the first­ever viola da gamba major at The Juilliard School, where he has soloed on both viola da gamba and baroque cello. Described by The New York Times as a “fine instrumental soloist” Arnie has performed with some of the countries leading period ensembles, including the Boston Early Music Festival Ensemble, Trinity Baroque Orchestra, and Parthenia. He has participated in classes and coachings with notable artists, like William Christie, Anner Bylsma, Richard Egarr, and Christopher Hogwood. Arnie is an advocate for the viola da gamba, and can be found givin lecture demonstrations and premieres of new works for the instrument around the country. He holds degrees from Oberlin Conservatory (B.M.) and the Eastman School of Music (M.M). He currently resides in New York City, where he is pursuing a Master in Historical Performance at The Juilliard School under the tutelage of Sarah Cunningham. 

<- BACK TO MUSICIANS

Paul Holmes Morton | Theorbo

Paul.jpg

Paul Holmes Morton is native to the state of Pennsylvania, where he had his first music lessons on his father’s banjo and later the cello. After a youthful education of folk music, he went on to study classical guitar under the instruction of Ernesto Tamayo, Marc Teicholz, Sergio Assad, and was later introduced to the theorbo by Richard Savino while studying at San Francisco Conservatory of Music. Perpetually inspired by music as a vehicle to transport oneself across time and culture and class, Paul Holmes believes his music lives in bowtied concert halls, Italian cathedrals, smoky dive folk bars, the mountain towns of Appalachia, and everywhere in between. He is currently completing his studies at the Juilliard School under the instruction of Daniel Swenberg and Charles Weaver.

<- BACK TO MUSICIANS

Owen McIntosh | Tenor

katrin-albert-photography-trident-94.jpg

A native of remote Northern California, Owen McIntosh as enjoyed a career of diverse musical endeavors from bluegrass to reggae, heavy metal to art song, and opera to oratorio. Heralded by critics as “stylistically impeccable,” he “sings with vocal energy and rhythmic bite” and his “strong yet sweet tenor voice” produces the “clearest lines and most nuanced performances.” Recent solo engagements include; St. Matthew Passion with Grand Rapids Symphony, il Ritorno d'Ulisse in Patria with Opera Omnia and Boston Baroque, and Evangelist in Bach's St. John Passion with Tucson Chamber Artists. Mr. McIntosh is also a core member of vocal chamber ensembles; Blue Heron, New Vintage Baroque, Gamut, Tucson Chamber Artists, and TENET, performing repertoire that spans history throughout the United States. Past performances include title role in Helios Early Opera’s production of David et Jonathas, Bach’s B Minor Mass with Tucson Chamber Artists, Evangelist in Telemann’s St. Luke and St. John Passion, Comprimario soloist in Opera Boston’s production of The Nose, and a Jordan Hall performance of Benjamin Britten’s Serenade for Tenor and Horn. Mr. McIntosh holds a masters degree from the New England Conservatory of Music. Arnie Tanimoto is equally at hom

<- BACK TO MUSICIANS